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© New Zealand Qualifications Authority, 2014. All rights reserved.No part of this publication may be reproduced by any means without the prior permission of the New Zealand Qualifications Authority.
Level 3 Art History, 201491482, 91483, and 91484
2.00 pm Thursday 20 November 2014
RESOURCE BOOKLET
Refer to this booklet to answer the questions for Art History 91482, 91483, and 91484.
Check that this booklet has pages 2 – 36 in the correct order and that none of these pages is blank.
YOU MAY KEEP THIS BOOKLET AT THE END OF THE EXAMINATION.
L 3 – A R T R993703
For copyright reasons, the resources in this booklet cannot be reproduced here.
INSTRUCTIONS
This booklet contains the plates for Art History 91482, 91483, and 91484.
There are five plates for each of the Level 3 areas of study:• Early Renaissance: Plates 1–5 (pages 3–8)• Late Renaissance to Mannerism: Plates 6–10 (pages 10–14)• Early Modernism 1900–1940: Plates 11–15 (pages 15–19)• Modernist Design and Architecture 1900–1960: Plates 16–20 (pages 20–24)• Modernism to Postmodernism: Plates 21–25 (pages 25–29)• Contemporary Diversity: Plates 26–30 (pages 30–34).
Make sure you read your chosen questions carefully before making your plate selection.
2
EARLY RENAISSANCE
Plate 1: Ambrogio Lorenzetti, The Effects of Good Government in the City (detail from The Allegory of Good and Bad Government), c. 1338–1339, fresco, 700 × 200 cm
This is part of a series of frescoes located in the Sala dei Nove (Salon of Nine) in the Palazzo Pubblico, Siena, Italy.
The Allegory of Good and Bad Government shown in situ in the Sala dei Nove. The room measures 2.96 × 7.7 × 14.4 m.
3
Plate 2: Pietro Lorenzetti, The Last Supper, c. 1320, fresco, 240 × 300 cm
The Last Supper shown in situ on the ceiling of the chapel decorated by Pietro Lorenzetti, in the south transept of the Lower Church of San Francesco at Assisi, Italy.
4
Plate 3: Masaccio, The Distribution of Alms and Death of Ananias, 1426–1427, fresco, 230 × 162 cm
The Distribution of Alms and Death of Ananias shown in situ in the Brancacci Chapel, Santa Maria del Carmine, Florence, Italy. The works were commissioned by Felice Brancacci.
5
Plat
e 4:
Pie
ro d
ella
Fra
nces
ca, T
he P
roce
ssio
n of
the
Que
en o
f She
ba; M
eetin
g be
twee
n th
e Q
ueen
of S
heba
and
Kin
g S
olom
on, 1
452–
1466
, fre
sco,
33
6 ×
747
cm
Part
of a
ser
ies
of fr
esco
es w
hich
nar
rate
The
Leg
end
of th
e Tru
e Cro
ss, c
omm
issi
oned
by
the
Bicc
i fam
ily to
dec
orat
e th
e C
appe
lla M
aggi
ore
of th
e C
hurc
h of
San
Fra
nces
co, A
rezz
o,
Italy
.
6
The
Cap
pella
Mag
gior
e of
the
Chu
rch
of S
an
Fran
cesc
o, A
rezz
o, It
aly,
in w
hich
The
Pro
cess
ion
of th
e Q
ueen
of S
heba
and
the
Mee
ting
betw
een
the Q
ueen
of
Sheb
a an
d Ki
ng S
olom
on a
re lo
cate
d.
7
Plate 5: Paolo Uccello, St George and the Dragon, c. 1470, oil on canvas, 56 × 74 cm
A private commission, now in the National Gallery, London, England.
8
9
This page has been deliberately left blank.The plates continue on the following page.
LATE RENAISSANCE AND MANNERISM
Plate 6: Andrea Mantegna, The Court of Gonzaga, c. 1465–1474, walnut oil on plaster, width c. 800 cm
Part of a series of paintings commissioned by Ludovico Gonzaga, Duke of Mantua, in the Camera degli Sposi of the Palazzo Ducale, Mantua, Italy.
View of the west and north walls and the ceiling oculus of the Camera degli Sposi. The room dimensions are 8.1 × 8.1 × 8.1 m.
10
Plate 7: Leonardo da Vinci, Ginevra de’ Benci, 1474–1478, oil and tempera on panel, 38.1 × 37 cm
A private commission given to Leonardo by an unidentified Florentine nobleman. For many years the patron was thought to be Ginevra’s father, Amerigo de’ Benci; however, recent evidence suggests it may have been commissioned by Bernardo Bembo, her admirer.
11
Plate 8: Donato Bramante, Tempietto, 1502, marble
A small chapel, commissioned by Ferdinand and Isabella of Spain to mark the site of St Peter’s execution in the courtyard of San Pietro in Montorio, Rome, Italy.
12
Plate 9: Giovanni Bellini, San Zaccaria Altarpiece, 1505, oil on panel, 500 × 235 cm
Commissioned for the Church of San Zaccaria, Venice, Italy, to commemorate a politician, Pietro Cappello.
The San Zaccaria altarpiece shown in situ in the Church of San Zaccaria.
13
Plate 10: Jacopo Pontormo, The Deposition from the Cross, 1525–1528, oil on wood, 313 × 192 cm
Commissioned by the Capponi family for their chapel in the church of Santa Felicita, Florence, Italy.
The Deposition from the Cross shown in situ in the Capponi Chapel.
14
EARLY MODERNISM 1900–1940
Plate 11: Henri Matisse, Dance (I), 1909, oil on canvas, 259.7 × 390.1 cm
This is the first version of two similar paintings.
15
Plate 12: Ernst Ludwig Kirchner, Five Tarts, 1914, woodcut on blotting paper, 48.5 × 37 cm
16
Plate 13: Sonia Delaunay, The Flamenco Singer, 1916, oil on canvas, 71 × 65 cm
17
Plat
e 14
: Joa
n M
iró, T
he T
illed
Fie
ld, 1
923–
1924
, oil
on c
anva
s, 6
6 ×
92.7
cm
This
pai
ntin
g sh
ows
a vi
ew o
f Mir
ó’s
fam
ily’s
farm
in M
ontr
oig,
Cat
alon
ia, S
pain
.
18
Brâncuși produced Bird in Space, a series of sculptures, between 1920 and 1940.
Brâncuși in his Paris studio, 1925.Photograph by Edward Steichen.
Plate 15.1: Constantin Brâncuși, Bird in Space, 1923, marble, 144.1 × 16.5 cm
Plate 15.2: Constantin Brâncuși, Bird in Space, 1932–1940, polished brass, 137.2 × 16.5 cm
19
MODERNIST DESIGN AND ARCHITECTURE 1900–1960
Plate 16: Marianne Brandt, Self-portrait, 1929, black and white photograph
Brandt has photographed a reflection in a metal ball suspended from the ceiling of her studio at the Bauhaus in Dessau, Germany.
The Studio Building of the Bauhaus, designed by Walter Gropius and built during 1925 and 1926. This building contained studio flats for junior masters and students.
20
Plate 17: László Moholy-Nagy, Balconies, 1926, black and white photograph, gelatin silver print, 49.5 × 39.3 cm
The photograph shows an unknown student on a balcony of the Studio Building of the Bauhaus, Dessau, Germany.
The Bauhaus, designed by Walter Gropius and built during 1925 and 1926.
21
Plate 18: René Lalique, Suzanne, 1925, moulded yellow glass on an illuminating base, height 22.2 cm
22
Plate 19: William Van Alen, The Chrysler Building, 1928–1930, New York City, height 319 m
Commissioned and paid for by Walter P. Chrysler as the head office of Chrysler Corporation.
Detail showing surface ornamentation.
Detail showing neon lighting on spire.
Detail of interior entrance hall, looking towards the street.
23
Plate 20: A. M. Cassandre, Cover of Harper’s Bazaar, October 1939, 24.7 × 33 cm
Harper’s Bazaar is an American fashion magazine, aimed at upper-class and upper-middle-class women.
24
MODERNISM TO POSTMODERNISM
Plate 21: Jacqueline Fahey, The Birthday Party, 1974, oil on board, 95 × 121 cm
25
Plate 22: Jasper Johns, Flag, 1954, encaustic, oil and collage on fabric mounted on plywood, 107.3 × 153.8 cm
Originally in a private collection, the painting was gifted to the Museum of Modern Art, New York, by Philip Johnson.
Flag supported by Leo Castelli, in his gallery in 1960. Also visible are works by Frank Stella, Lee Bontecou, Edward Higgins, and Robert Rauschenberg.
26
Plate 23: Roy Lichtenstein, Ohhh Alright, 1964, oil and magma on canvas, 91.4 × 96.5 cm
27
Plate 24: Dick Frizzell, Four Four Time, 2009, screen print, signed and numbered, 56 × 76 cm
This is one of several images Frizzell created for The Great New Zealand Songbook project in 2009.
Dick Frizzell, Contacts, 2003, Screenprint, 72 × 52 cm.
28
Plate 25: Bill Culbert, Daylight Flotsam Venice, 2013, 150 fluorescent tubes and recycled plastic bottles
One of eight installations by Bill Culbert featured at the Venice Biennale in 2013.
29
CO
NT
EM
PO
RA
RY
DIV
ER
SIT
Y
Plat
e 26
: Sha
ne C
otto
n, T
he H
angi
ng S
ky, 2
007,
acr
ylic
on
linen
, 265
× 2
65 c
m
The
face
in th
is w
ork
is b
ased
on
Hon
gi H
ika’
s (N
gā P
uhi)
carv
ed s
elf-p
ortr
ait b
ust.
30
Plat
e 27
.1 a
nd P
late
27.
2: L
isa
Rei
hana
, Mai
i te
aro
ha, k
o te
aro
ha, T
e P
apa,
Wel
lingt
on, 2
008,
two
parts
of a
n in
stal
latio
n m
ade
of s
even
com
pone
nts
usin
g m
ovin
g im
age,
pho
togr
aphy
, tex
tile
desi
gn
Mai
i te
aro
ha, k
o te
aro
ha, m
eani
ng ‘F
rom
lo
ve, c
omes
love
’, w
as c
omm
issi
oned
sp
ecifi
cally
for T
e A
ra a
Hin
e. T
e A
ra
a H
ine
in li
tera
l tra
nsla
tion
mea
ns ‘t
he
path
way
of w
omen
’ and
is th
e in
tern
al
entr
ance
to T
e H
ono
ki H
awai
ki,
Te P
apa’
s M
arae
.
31
Plate 28: Damien Hirst, For the Love of God, 2007, platinum, diamonds, and human teeth, 17.1 × 12.7 × 19.1 cm
32
Plate 29: Mariko Mori, Play with Me, 1994, photograph
33
Plate 30: Jeff Koons, Pink Panther, 1988, porcelain, height 104 cm
Two views showing one of three identical sculptures made by Jeff Koons. One edition sold for over US$1.8 million in 1999. Another went to auction in 2011 and made nearly US$17 million, although this was less than the expected price of US$20–30 million.
34
Acknowledgements
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35
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